A form of blow-pipe that may be purchased at most ironmongers’ shops consists of a wooden handle with a mouth piece filled with cotton soaked in benzine. To this is attached a rubber tube with a mouth piece. This blow-pipe is very easily used, and may be successfully employed in testing the purity of white lead in the manner indicated.
PURITY OF TONE.--Some remarks on this subject will be given under the heads of the various groups of colours. Speaking generally, the richness of brilliancy of tone is easily discernible by placing the sample to be tested side by side with another of well known excellence. In siennas, ochres and umbers the selection of crude material by which the richness of tone is assured is of great importance.
FINENESS OF GRINDING.--The method of testing the fineness of a pigment usually employed by the painter is to rub a little on the finger nail; but this is a crude and unreliable method. If the pigment is dry and it is desired to compare it for fineness with a similar pigment or white lead, the following is as good a plan as any:--
Take two tall vertical glass jars, place in them an equal quantity of turpentine, and then take a small quantity of the white lead to be tested. Place it in one jar, and an equal quantity of the pigment with which it is to be compared, in the other; thoroughly stir up both and then note the time it takes the samples to settle. If graduated marks are made on the two jars the observations will be taken more readily.
Another test is to weigh out equal quantities of the two leads, and then to take a very small quantity of the same colour, say black, and add to each sample, thoroughly mixing. The lead that is the lightest in colour will be the finest. The explanation of this is somewhat interesting. Suppose that we have a number of cubes of white lead each measuring one inch side. This will give us six superficial inches to be coloured. Now suppose that we break up these inch cubes into half inch cubes, which will give eight half inch cubes to each inch cube. Now as each half inch cube has six faces measuring half an inch by half an inch, it has a superficial surface of three square inches; and as there are eight of the half inch cubes, there are twenty-four superficial inches to be coloured against six in the inch cubes. It will be seen, therefore, that by increasing the fineness of a pigment a greater surface is presented to be coloured, and hence more colour is required.